This study concerns a selection of prehistoric metal objects of animalistic design, published at the internet site of the Swedish Statens Historiska Museum. It seeks to give an impression of the design elements used, and to find likely models for the motifs among live animals. The method used is a qualitative hermenuetic comparative study of objects, where the distinct significant design elements are being identified and interpretated. Several significant design elements are identified, and some are interpretated as representing certain animals. The amalgamation of differentiating design elements in some objects however, leads to interpretations of compound animal motifs, where some motifs are considered ambiguous and some are rendered uninterpretated. The study also points to the question of relations between period motifs, mythology and religious cult.

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ABSTRACT Denna studie behandlar problematiken gällande vem som bör ha det yttersta ansvaret för barns utbildning: skolan eller föräldrarna. Forskning visar att föräldrars önskan om befrielse från specifika undervisningsinslag för sina barn är ett växande faktum. Denna önskan bemöts emellertid med skepsis från Skolverkets håll. Detta resulterar i att föräldrar väljer att flytta sina barn till diverse skolor och friskolor där befrielse utdelas godtyckligt och lättvindigt för att kringgå problematiken, något som bemöts med både ris och ros från forskarnas håll. Utifrån ett interkulturellt perspektiv har syftet varit att undersöka vari denna problematik har sitt ursprung, vilka förslag på lösningar som ges, samt vilka konsekvenser denna problematik ger upphov till. Genom en systematisk litteraturstudie uppmärksammas olika lösningar av ovanstående problem med utgångspunkt i diverse forskares utsagor. Resultatet belyser de olika viljor som styr och tvetydigheten kring vems rättigheter som väger tyngst. De rättigheter som ställs mot varandra är Skolverkets direktiv om att alla elever skall garanteras en likvärdig och ickekonfessionell utbildning som anammas av skolan, mot den Europeiska konventionens föreskrifter gällande föräldrars rätt att tillförsäkra sina barn en uppfostran i enlighet med deras religiösa och filosofiska övertygelser. Studien konkretiserar det faktum att en enhetlig lagstiftning lyser med sin frånvaro.

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<p>This study concerns a selection of prehistoric metal objects of animalistic design, published at the internet site of the Swedish Statens Historiska Museum. It seeks to give an impression of the design elements used, and to find likely models for the motifs among live animals. The method used is a qualitative hermenuetic comparative study of objects, where the distinct significant design elements are being identified and interpretated. Several significant design elements are identified, and some are interpretated as representing certain animals. The amalgamation of differentiating design elements in some objects however, leads to interpretations of compound animal motifs, where some motifs are considered ambiguous and some are rendered uninterpretated. The study also points to the question of relations between period motifs, mythology and religious cult.</p>

Through the consideration of Adorno’s theory of ‘negative dialectics’ the existing society of art is in a state of alienation. This idea considers units of similarity abstracted from one another and thereby establishing an opposition; a negative dialectic relationship between creatives. “Instead of belonging to the world, man put himself rationally and critically opposite it...“ (Jencks & Baird, 1969, p. 216). The concept that a future can exist free from alienation lends toward a future of collaborative community considered within the context of cultural production. Culture is not merely the manifestation of the human mind into a creative material medium; it is also a mechanism of interaction developed through social behaviour such as a custom or an idea. Kristeva’s construct, ‘the abject’ (that which is neither subject nor object), is used to define the scope of this project. Producing culture using space is not defining object in space nor is it defining subject in space. The triadic interaction between object, subject and abject is important in understanding the cultural system within the built environment. This is conceptually intended to manifest the communal identity of creatives within the host building. Considering the explicit (whereby knowledge and social interaction are produced) and implicit (which considers action between object and subject) relationships reinforces the argument. The understanding of the relationship between cultural media and mediators is to be explored spatially in the adaptive reuse of the Sunnyside Post Office into a production house and exhibition space, utilising social applications to defining a model for a creative cohesion. / Dissertation (MInt(Prof))--University of Pretoria, 2014. / Architecture / MInt(Prof) / Unrestricted

• Autotelic Architecture is a collection of buildings with architectural stories. • The buildings included are described with black line drawings on white paper and a supplementary text. The drawings have been stripped down to only show walls, pillars, stairs, ramps and significant objects. Together the drawing and the text describes what story is told in the building through its architectural elements. • The reason to include a building in the collection is our recognition of a story within it. • All of the buildings in the collection have been built. • Each of the buildings in the collection hold a story thought of as relevant, communicated with spaces and objects. The relevance is based on an incomplete set of attributes, indicating a strong architectural story. • The buildings are categorized in different themes. For example, the theme of labyrinths describe buildings that are of a maze like nature, schizophrenic describe buildings with multiple logics and nothingness describe buildings appearing to be almost nothing. One building can be part of several themes, and the number of themes is not fixed. • The intention is to visualize the nature of the architectural story and to provide a conceptual inventory for further development of architectural stories. We believe that from telling stories with only the configuration of a buildings physical conditions there arises a direct intellectual stimulation which adds poetic depth to the building. • This book argues that the poetical aspects of architecture has a purpose in itself and should take precedence over the technical aspects. • This book is not a manual and can therefore not be seen as dogmatic or as a recipe for architecture. It is a body of strong architectural stories that deserve to be noted and shared. • This book does not take a stand against other forms of architecture, it simply proposes a language of designing that is both serious and happy, both literal and tentative, both enigmatic and real. / • Autotelisk Arkitektur är en samling av byggnader med arkitektoniska berättelser. • Byggnaderna är beskrivna med hjälp av planer och text. Planerna har blivit reducerade för att enbart visa väggar, pelare, trappor, ramper och signifikanta objekt. Tillsammans beskriver planen och texten den berättelse byggnaden berättar genom sina arkitektoniska element. • Alla byggnader i samlingen har byggts. • Byggnaderna är kategoriserade i olika teman. En byggnad kan vara part av flera teman och antalet teman är inte fast. • Intentionen är att visualisera arkitektoniska berättelser och tillgängliggöra en konceptuell inventering för vidare utveckling av arkitektoniska berättelser. Vi tror att genom att berätta historier genom enbart en byggnads rumsliga konfiguration uppstår det en intellektuell stimulering vilket skapar poetiskt djup i en byggnad. • Boken föreslår ett formgivningsspråk som är både seriöst och glatt, både bokstavligt och sökande, både enigmatiskt och verkligt.

Thesis advisor: Mary Ann Glynn / Categories are persistent features of cultural fields and markets, used to delineate boundaries between different kinds of cultural products and cultural producers. Categories are dynamic social constructions, evolving over time as their constitutive practices and meanings change, through a variety of processes that scholars are still describing and unpacking. This dissertation explores, in three papers, the processes through which categories change over time in the context of the field of jazz music, describing mechanisms of category change and theorizing processes of category evolution and decline. The first paper (chapter two) examines the emergence of a novel subcategory of jazz, called bebop, in the mid-1940’s, and the changes to jazz consumption practices and category meanings that bebop’s emergence wrought. It contributes to the categorization literature by highlighting the role of consumption practices in shaping category meanings. The second paper (chapter three) examines the emergence of another subcategory, called jazz fusion, in the 1960’s and 1970’s, and unpacks gatekeeper responses to its emergence in the form of critical discourse, revealing how category gatekeepers codify category change by reordering their standards of value, quality, and category membership through their discourse. It contributes to the literature by showing how gatekeepers discursively modify categories as they make sense of new practices. The third paper (chapter 4) explores the processes through which subcategories are absorbed into broader umbrella categories, falling out of use even as their constitutive practices and meanings live on. This paper contributes to the literature by expanding our understanding of category decline. Overall, this dissertation contributes to literature on category dynamics and the practice turn in organization theory. / Thesis (PhD) — Boston College, 2022. / Submitted to: Boston College. Carroll School of Management. / Discipline: Management and Organization.

This dissertation examines representations of feminicide victims in documentary film, novels, non-fiction, art, and graffiti and argues that these images express anxiety about they way women traverse and inhabit the geography of Ciudad Juárez, often giving precedence to the idea of the public female body as hypersexualized. In order to reclaim memory of the victims some cultural producers focus on the testimonial form in which victims’ families and other activists share their stories or construct informal memorials in the city; these remembrances later appear in works of non-fiction, film, and art, as markers of the process of creating and preserving memory. My dissertation analyzes such works as the documentary Señorita extraviada (2001) by Lourdes Portillo, the non-fiction work Huesos en el desierto (2002) by Sergio González Rodríguez, and the novel 2666 (2004) by Roberto Bolaño, among other cultural expressions, to show how feminicide victims and their families have been marked by and have challenged a pervasive public discourse about female sexuality.

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